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©2013
Tamara Johnson & Leopold Masterson
964 DEAN STREET
7PM
JUNE 14 2013
BROOKLYN NEW YORK
H 11238
As artists, we have control over what we make and in turn
what is seen. This exhibition is a culmination of our
present practices as we dictate by hand our collective
futures. We disregard any perceived framework and remodel
how our work exists in a space. Values transfer to glass,
time is constructed in neon, landscapes are consolidated
and performed. Gold blurs Image.
Our ideas are the catalyst for the future.
The corresponding exhibition will be held June 1 4, 2023 in
New York, most likely at the MOMA.
* The first image(s) seen on each artists’ page is their own
work, (A). The following image, (B) is a proposal of a projected piece for
the 2023 exhibition.
2
Artists
Katie Bell
Jani Benjamins
Claudia Bitran
Trey Burns
April Childers
Ben Dowell
Zach Gabbard
Sam Gassman
Stefan Gunn
Daniel Herr
James Foster
Tamara Johnson
Rachel Klinghoffer
Kimo Nelson
Leopold Masterson
DH McNabb
Arthur Pena
Ruta Reifen
Casey Jex Smith
Catherine Siller
Rebecca Ward
Appendices
Provenance
Artist Contract
3
Katie Bell
1.) Find the artist John Martin Bell (born 1985, Rockford, IL). As of the year 2013, he resided in St. Paul, Minnesota.^
He looks like this:
2.) Track down his work:
‘Persistent Present’, watercolor on synthetic paper, 22 x 22in, 2012
It looks like this:
2
3.) The artist John Martin Bell is to be brought to the 2023 exhibition to curate our work together. He is to determine
how it is arranged and has complete curatorial license over our two works in relation to one another within the
exhibition.®
* If in 2023 John Martin Bell cannot be found, please contact his twin sister Katie Bell (born 1985, Rockford, IL) for his whereabouts.
2 If 'Persistent Present" cannot be found please use a comparable work from the time periods 2012-2013.
^ If in the event that John Martin Bell is unable to come to the 2023 exhibition, please find Kurt Bell (born 1950, Rockford, IL) to act in his place.
5
Jani Benjamins
I will create a global network or web of collaborative drawings.
The drawing idea will be generated by a simple instruction, i.e. making a mark
or writing an idea, and sending it to another collaborator. The collaborator,
using their discretion, will include another friend, with the option of passing
it on to another collaborator. The drawing in progress will be sent back to
the provided address when the drawing feels completed. The collaborators
will list their names, countries, and cities, on a separate sheet of paper. This
drawing project is an attempt to reconnect people using the manual qualities
of drawing and print, a tactile quality continuously fading since the rise of the
internet.
7
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Claudia Bitran
In ten more years I will show a full-length film starring many of my artist friends, myself, and some art¬
ists, actors and singers that I love and admire (Martin Sastre, Alex Bag, Enrique Iglesias, Kate Winslet,
James Franco etc.)
I will give each actor a tailored role that fits their psyche and satisfies their desires. I want the film to
have a linear, predictable and simple story line and at the same time every scene can stand on its own.
It will be a roller coaster of fictional situations: interactions between different performers, as well as a
personal platform to experiment with craft, handmade special effects, editing and DIY sound tracks.
The film will be based on one of the trailers that I have already produced or one that will be made in
the following years. I have always wanted to make a thriller that happens on a cruise.
I imagine the piece projected in a large empty room. People will be able to walk through it and have
the liberty to choose whether to watch a scene or to watch the full-length piece. I also imagine the film
being shown in different contexts (galleries, theaters, festivals) and I would like some fragments to be
available online.
9
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Trey Burns
For 2023, I
propose to
commission Jordi
Colomer to make
an opera. This
will serve as a
retrospective
with his various
characters,
artworks and
sculptures as part
of arc. This piece
will be represented
in the show by
the poster for the
proposed Opera.
11
i
April Childers
Dear April,
I am writing to you in hopes of explaining why I am supposedly guilty of
(what has now become known as) “The Kim Gordon Hair Flip Brush Off". I’m sure
that you have expressed your disappointment and heartache to those around you.
However, I must say that at this point in my life, I honestly don’t remember you or
my “actions’’ toward you. Could it have been that you were perhaps a little
wasted? Could it have been because you are a mumbler? It could have been the
time that you (?) awkwardly followed me around Knockdown Center when
“Body/Mind’’ performed during the Red Bull Music Academy.
I do remember a sad incident where a grown woman (probably pending middle
age), was dressed as a thirteen-year-old girl glossed over something about
seeing SY in Knoxville 10 years prior. She requested a photo be taken of her and
I. Was this you? If this was you, I need you to understand how small you are in
this universe. Our orbits have simply not met within each other and they may
never, beyond this letter. If “The Kim Gordon Hair Flip Brush Off’’ created some
lame Butterfly Effect for you, please keep hope that it will have done the same
for me at some point in my eternity. Make things big because you, my dear, are
small. Use it as a conceded reminder that nothing means everything and
everyone cares. I now understand that Idols don’t die, I should have admitted
that long ago. I hope you feel better. All apologies?
Crack in the Sidewalk,
Kim Gordon
13
1
'\
Ben Dowell
Christopher Williams, “Kodak Three Point Reflection Guide, ©1968 Eastman Kodak
Company, 1968. (Corn) Douglas M. Parker Studio, Glendale, California, April 17, 2003.”
2003.
Dye transfer print, 1 6 x 20 inches.
For the 2023 Exhibition, I want this photograph by Christopher Williams to hang next to my
work.
15
Zach Gabbard
I propose to have my work in conversation with two text art heavyweights Bruce
Nauman, and Jenny Holzer at MOMA in 2023.
I would like to create a braid of cold neon wire of different colors and gauges that
falls the three stories of MOMA’s main atrium down to a large viewing gallery. The
braid will pulse, whirr, and blink in random and structured animation sequences
that will form “poetry” of the text that all of the individual strands of cold neon ter¬
minate in. In the gallery will be Bruce Nauman’s infamous 100 Live and Die and
Jenny Holzer’s Monument. I would like the public to be able to draw a very distinct
historical line and to revel in the swelling tide of thought as object.
17
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Sam Gassman
In 2023, Michael Sharp, painter and costume designer, will create “Dissection of
Gloriana the Faerie Queen, A further study on the Virtue of Magnificence.”
The sculpture’s contents will be excavated and examined. Through this
documented autopsy, Sharpe will compile a written report postulating the meaning
and exposing the true contents and materials used in this work.
Included here is a legal and binding contract that states with the sale of
“Gloriana” the client agrees that “Gloriana” must undergo this transformation prior
to 10 years from now. Half of the sale price will be put into escrow in order to
finance the future portion of the work to be done some time prior to 2023. Attorney,
Phil Jensen, has drafted and will administer this legally binding agreement.
It is also directed that Sharpe will use some portion of the literal sculptural
material of “Gloriana” and embed it in a diptych that he executes. This
diptych will be permanently presented as part of the future “Gloriana” likely bound
to or containing the updated sculpture for the 2023 exhibition.
19
Stefan Gunn
In 2023 I would like for the curators to search the internet for the .avi file:
download it if it still exists, copy it onto a VHS tape, and play it on a cathode ray tube monitor with a
built-in VHS player. There should be no accompanying statements except
“I'm sorry”
At no point before the 2023 exhibition should the contents of the file be mentioned in any show
material, nor should the file be screened in any setting associated with the show.
21
Daniel Herr
A poem or short film by Alfred Leslie about how life in New York has changed since
the 1950’s. Leslie has been a major influence for me not only in terms of his
painting but in his entire attitude towards living post-war as an American
artist. There is present in his work a search for meaning in an amoral world, as
well as an experimentation with medium and subject matter to find a
truthful style that communicates the American’s inner struggle and the desire to
define oneself. Born and raised in the city, he has the perspective of
bearing witness to and participating in the rise of the
generation known as the New York School, while having the
especially keen and judgmental perspective only a native son could.
My work deals with the problem of living in the city - with change, confusion,
absurdity - all things Leslie’s work as a filmmaker and poet encapsulates
perfectly. I am interested in gaining insight into this important artist’s long view of
the time in which he came of age, and the place in which we both find
ourselves working.
23
James Foster
...in pro-posal.:
Plan 9 Helmet Head (drawing on the future)
work on paper- 12x8”
A Proposal for Collaborative Sculpture- |
Jose Lerma and James Foster
Plan 9 Helmet Head
6x6x6’
Colored fabrics, glue
2023 '
25
Tamara Johnson
This is perhaps a note written to me by Robert Gober while working as his studio assistant. Inside
the folded white paper includes drawings and notes for events and makings happening as of June
5, 2013. By June 5, 2023, I will have decoded this message and carried out Bob’s wishes for my
future work and his backyard.
27
Rachel Klinghoffer
At The Independent Art Fair in March Verena Dangler’s colorful hybrid, part craft,
painting and sculpture, called me from across the room. Candy colored
ornamentation flanked the sides of an institutional white pedestal as a long
rectangular needle point dominated the front panel. It was hung on the
pedestal much the same way a painting is bolted to a wall at a museum. The
needle point had a column of a gradient of blues to beige juxtaposed against a
pillar of gradated hot pink. This produced an unexpected and satisfying color
relationship that drew me in excavate the piece. The needle point’s imagery
seemed to be pulled from either a fabric pattern or modernist painting. It is as if
the artist was trying to play a joke on the viewer and left a smirk on my face.
Having a suspect combination of sources is pertinent to my practice right now as I
aim to create room and drive friction in readability of the work.
Dengler’s piece combines the language of decor, craft, sculpture and painting pay¬
ing homage to both high and low art. This use of pastiche is relevant to my prac¬
tice right now as I aim to success-fully conglomerate re-appropriated
materials, subject matter, and allegories from diverse sources. Remnants of
material culture are pastiched into
color-coordinated, aestheticized objects that
bring disparate ideas together in unified
forms.
Even though I have never personally met
Dengler, I feel like we are kindred spirits,
sharing a love for pattern and decoration,
painting and sculpture. Her work has driven
me to continue to explore the
openness of visual language. I aim to use
objects and treatment of surfaces as words
in new compositions. Their
juxtaposition with each other attempts to
offer new connotations that can pull from
the viewer’s own psyche and our collective
memories.
29
Kimo Nelson
452 40'h Street #3A Brooklyn, NY 1 1232
801.403.3840 / kimonelson@gmail.com / www.kimonelson.com
TwentyThirteen/TwentyTwentyThree Exhibition Proposal
I find the oscillation between opposing modes of operation in picture making to be a
fertile place to experiment with varying methods of producing meaning. Pictorial
information subverted and sometimes destroyed through process and exploration of
material can lead to surprising forms of tension. I find this approach inherent in Arturo
Herrera’s Boy and Dwarf series of collages. I propose to exhibit a selected piece from this
series, preferably #19 DF4. Herrera uses a cartoon image of a dwarf appropriated from a
coloring book found in a second hand shop in Caracas as a point of departure to create
this large scale mixed media collage. At various points the image reveals itself to the
viewer, suggesting a figure ground relationship. At other points the material process
distorts the pictorial information leading the viewer to read the work as abstraction. I
find the contrapuntal tension resulting from this oscillation to be indicative of the many
avenues open to contemporary painters choosing to explore the spaces between
established methodologies.
Arturo Herrera
#19DF4
collage and mixed media on paper
98.5 in. X 48.5 in.
2006
31
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Leopold Masterson
My proposal will instruct a dialogue between the establishment and the experimental, the past and the present.
By fostering an environment that is responsive to the issues of modern and contemporary art, this exhibition
attempts to be accessible to a public that ranges from scholars to the proletariat. This proposed four-month
exhibition, 2023, is to be confirmed in a binding legal contract by David Rockefeller while he serves on the
Board of Trustees at the Museum of Modern Art, New York.' Funding for this exhibition is to be generously
awarded by the Warhol Foundation, Creative Time and the MacArthur Foundation with additional resources
from private individuals and organizations.
All press materials for the exhibition must be finger-painted on synthetic human flesh by New York Times critic
Roberta Smith in collaboration with an alcoholic schizophrenic Indian in his middle ages and a towel rack'^.
The opening of 2023, sponsored by LVMH, will kick off with Honey Boo Boo singing the National Anthem
followed by a gay guy telling bad jokes. As the crowd begins to grow restless and agitated at the homosexual
man’s excessively racist, sexist and iconoclastic humor an anonymous man in a trench coat runs onto the stage
and unveils a massive suicide bomb strapped to his chest. Immediately, a pulsating flash of tight and a deafening
high pitch screech reverberate across the museum as the chaos twists and bends into a laser tight, hot pink super
sweet 16 party with confetti, balloons and live music by Daft Punk featuring Pussy Riot and the Atlanta West
Pentecostal Church Choir.
Each day for the entire course of the exhibition one well-established gallerist, collector, curator, art dealer, critic
or artist will come to the MOMA’s main atrium and fabricate three pieces of art from the Mystery Art Box.
The works crafted are to be immediately sold online with all proceeds supporting local arts communities^. The
Opening week will host craftsmanship in this order by Larry Gagosian, Andrea Rosen, Harvey Weinstein, Anne
Coulter, Charles Saatchi, David Geffen and Philip Niarchos''^. The public closing will have functional waterfalls
for swimming and fried chicken.
1 If Mr. Rockefeller becomes ill or resigns an equivalent MOMA Board of Trustee or Honorary Chairman is to be selected by the Rockefeller Family to
fill this role.
2 In the case Ms. Smith is unavailable simply allow the schizophrenic and towel rack to assume responsibilities.
3 Local arts communities are defined by ethnicity alone with a dedicated 5% of all proceeds going to each ethnicity equally.
4 The rest of the line up will be dictated one year before the exhibition opens collectively by Leopold Masterson, Tamara Johnson, Trey Parker and Matt
Stone.
*Whatever aspects of said proposal cannot be accomplished must be plagiarized or reenacted by an anonymous third party and financed through a blind
trust in the Virgin Islands.
The Museum of Modern Art
1 1 West 53 Street
New York. NY 10019-5497
212-708-9400
Mission Statement
Founded in 1929 as an educational institution. I’he Museum of Modern Art is dedicated to being the foremost museum of modern art in the world.
Through the leadership of its Trustees and staff, The Museum of Modern Art manifi*sts this commitment by establishing, preseiving, and documenting a {K-rmanent collection of the highest order that reflects the vitality, complexity and unfolding
patterns of modern and contem{)orar\' art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a libraiy-, archives, and conservation laboraton, that arc rc^cognized as international centers of research; and
by supixming scholarship and publications of preeminent intellectual merit.
Central to The Museum of .Modern Art’s mission is the encouragement of an e\’cr-deeper understanding and enjoyment of modern and contem|)orary art by the diverse local, ntitional, and international audiences that it seix’es.
To achieve its goals The Museum of Modern Art recognizes:
• That modern and contemjKiraiy art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century' and continue today.
• That modern and contem|x>rar\- art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrau-d ImkiEs, photography, architecture and de.sign. and film and video, as
well as new forms yet to Ik* deveIoj)ed or understood, that reflect and explore the artistic issues of the era.
• That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are refl«*cted in the Museum’s varied collection.
• That it is essential to affirm the importance of contemporary' art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present.
• That this commitment to contemporaiy art enlivens and informs our evolving understanding of the traditions of mcxlern art.
• ITiat to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, res;x>nding to new ideas and initiatives with insight, imagination, and intelligence. The process of
reevaluation is mandated by the .Museum’s tradition, which encourages openness and a willingness to evolve and change.
In sum, The Museum of Mcxlern Art seeks to create a dialogue between the <*stal)lished and the exfK'rimental, the past and the present, in an environment that is responsive to the issues of nxxlern and contemporarv- art. while being accessible to a
public that ranges from sc holars to vx)ung childrc*n.
33
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36
DH McNabb
In 1578, Paolo Veronese finished The Annunciation. The painting depicts the angel Gabriel informing Mary
of her impending pregnancy. This painting would not be in my normal interest or subject matter, however if
one looks to the right of Mary one will find a small bulbous vase, inflated like an upside down balloon holding
a branch with leaves. During the late 1570’s, no vases had been found in the likeness, which appeared in the
painting.
The Annunciation sits in the Academia Gallerie
in Venice, Italy. Fast forward a few hundred years
to 1922 when a young lawyer turned glass house
operator, Paolo Venini, meets a Venetian painter
named Vittorio Zecchin who dabbled in glass
design. Vittorio takes inspiration directly from
the vase in the painting and thus the Veronese
vase is born, standing as the main symbol of
Venini.
As a glassmaker, this volumetric and simple form Paolo Veronese, The Annunciation, 1578. Oil on canvas. H 1 10, W 1 17 in.
has fascinated me. collection: Accademia Gallerie, Venice.
My proposal is henceforth:
I propose to display The Annunciation with a Veronese made in the 1920’s from the Venini factory along side
the painting. Along with these two pieces would be Josiah Mcelheny’s piece “The Conversation Surrounding
the Veronese Vase”, and a Veronese vase by Lino Tagliapietra, Dante Marioni, Janusz Pozniak, James Mongrain
and myself Accompanying these individual vases would be a video of each contemporary makers approach to
pursuing their own iconic version of this vase.
All of these will be displayed upon shelves or as wall pieces. In the
center of the room will be Piero Manzoni’s Artist Breath, 1960.
Perhaps a balloon or glass, his artifact depicts a breath as essentially a
bubble, deflated and preserved. In my minds’ eye what could be more
perfect then pursuing a breath? This breath is the breath that breathes
form into the Veronese vases I propose to show as a group. This is also
a strong reference to Duchamp who proclaimed he was a respirateur,
or a breather. Therefore, as a glassmaker, I am a preserver of this act
of breathing.
I realize that some of the participants in my proposal may not be alive now, and therefore forgoing the proposal
guidelines, however through art and through history it is often the objects or works left behind long after the
artist has breathed his/her last breath that remain. . .
37
Arthur Pena
OFG 2023
Morehshin Allahyari-CJ Davis-Rachel de JoodeOeff Gibbons-Dick Higgins Gallery-Michael
Mazurek- Francisco Moreno-Michael A. Morris-Arthur Pena-Michelle Rawlings-Alfredo Salazar-
Caro-Keith Allyn Spencer-Kevin Todora-Brad Troemel-Michael Wynne-Jeff Zilm
This is the current roster of Oliver Francis Gallery in Dallas, TX 2013. They are my community
and inspiration. Kevin Jacobs is founder and director of OFG and I consider him to be one
of my closest friends and allies within the microcosm that has been dubbed "The Dallas Art
Scene." But "scene" is a fleeting term, meant to describe a brief moment. Of course to us and
many other artists outside of Dallas that reside in their own scene, respectively, this thing that
we got going on, this social project that we call "Art", there is nothing fleeting about it. It is
perpetually relevant. But life happens and time, which seems to be the central concept within the
TwentyThirteen/TwentyTwentyThree Exhibition, is obviously inevitable. Within that inevitability,
the role that we have chosen for time is to supply us with history. As malleable and un-serving
at times as history may be, at its core it provides us with lessons; history is a tool for teaching
and informing. My proposal for the future exhibition of TwentyThirteen/TwentyTwentyThree is to
present the current roster of Oliver Francis Gallery as a group show that will be curated by Kevin
Jacobs. Ten years . a decade of life where the careers of these artists will be reexamined and
presented as history that all of us are creating today. What is the life span of these artists? Of
their work? What happens to those who stop making, those who go on to consume the riches
of the art world or those who have all but given up? This future show, for some of the artists
(including myself), may serve as a post mortem showing of work or as a celebration of humbled
beginnings. OFG: 2023 will tell the story of a small but willing gallery in Dallas, full of capable
artists who are, like so many, vying to occupy space in this history that we make for ourselves.
A single work from each artist that is created or conceived in 2023 will be hung along with
documentation of this year, 2013, and the events that occurred within Dallas, Oliver Francis
Gallery and among its artists. Along with this documentation the current (future) state of OFG,
Mr. Jacobs and the artists will be made available for the TwentyThirteen/TwentyTwentyThree
Exhibition. The lessons of our history may have a place in 2023 or this could all be for not.
*(A) It must be stated that upon the unfortunate scenario of an untimely death of Mr. Kevin
Jacobs, I, Arthur David Pena appoint Tamalee Jamson and Leeopold Masterson to occupy the role
of curator.
*(B) In the case of death of any of the artists, including myself and if (A) occurs, work may be
chosen from the last active year of the artist. In the case that (A) does not occur, Mr. Jacobs will
be free to choose any work from the deceased artist body of work.
*(C) Since the amount of space available to OFG 2023 is yet to be determined, the works from
any given artist is open to any media or object and may be hung according to the curators
wishes.
39
40
Ruta Reifen
Jewelers Kate Furman, Lane Vorster, Sophia
Readling and Ruta Reifen starting March
2014 ending March 2023, will correspond in a
collaborative Jewelry collection. This capsule
collection will unfold as follows:
Each year a piece will be completed. Starting in
rotation from one to the forth artist.
A piece will be initiated by concept in writing and
progressed between the four artist’s gradually. The
forth artist must finish the piece and write the idea
for the continued piece. All artists should consider
and comply with the original conceptual guidelines.
This will be an on-going discovery and global
communication process.
As much as this project is open and flexible it is
also restricted by a step-by step process, there is a
contract between the artists to follow and commit.
Stay posted to see the Jeweler’s code progress.
41
42
Casey Jex Smith
Lcilismcfn
CAREER RESURRECTION
7opy tht. irtlismnetn. o>i yovr
V in or yovr own bJoocf. Scan it. Aiioch H io
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an err'Kifl it to every aallsry and muwnum in
me.
44
Catherine Siller
string descriptiveWords[] = {
"fall", "swing hips", "couldn't if I wanted to", "she too",
"what do you think?", " despa i r/d i sappear " , "or have her",
"while she looks the other way", "try again", "see this?",
"she wanted it", "drove her to", "tease", "touch me",
"uncomfortable", "embarassed" , "seduce", "reaching",
"concealing", "if I were you", "at a loss for", "exhausted",
"show off", "you bet", "shame", "repeat", "hold", "tense",
"biting", "rage", "engulfs her", "shrug it off",
"remember", "repeat", "stand in for", "read me?"
};
PFont font;
int timer = 8;
int counter = 8;
int randomChangeTime = 188;
void setup() {
size (1928, 1288);
textA I ign(CENTER) ;
font = createFont("Didot" , 38);
textFont(font);
}
void draw() {
background (8);
fill(255);
text(descriptiveWords [counter] , width/2, height/2);
if (millis() - timer > randomChangeTime) {
if (random (18 )<3) {
counter = int(random(37));
}
}
if (millis() - timer > 5888) {
randomChangeTime = int (random (2588, 4888));
pr i nt I n (randomChangeT i me ) ;
timer = mi I lis();
}
"unsure" ,
45
Rebecca Ward
Artists are often at odds with their competition and to combat this I would like to show a sense of camaraderie by
presenting my painting cowboy church alongside its more popular and prolific counterpart: Cowboy Church by the
artist Bradley SchemhI. Furthermore, in lieu of showing originals and to speak of the commonplace nature of
reproduction in our culture, in 2013 I will show a reproduction of my own piece cowboy church. Alongside my
personal reproduction of cowboy church will be print of Schemhl’s Cowboy Church.
Bradley SchemhI
Cowboy Church
oil on canvas
20in X 30in, 2001
Pages; 4,5
Katie Bell
Sharin’ Stones
2011
Acrylic, plaster, tile, carpet, foam
32” X 5” X 2” and 21” x 5” x 2”
Making Strides
2012
Acrylic, linoleum, plaster, foam
7”x 9”
Fainting Violet
2013
Acrylic, plaster, foam
9” X 12”
Pages: 6,7
Jani Benjamins
Untitled: Figure
2011
Graphite
8.25” X 5”
Untitled: Hand Hold
2011
Graphite
8.25” X 5”
Untitled: Legs UP
2011
Graphite
8.25” X 5”
Untitled: Arm Scarf
2012
Graphite
8.25” X 5”
Pages: 8,9
Claudia Bitran
The Zone
(12:00)
2013
HD Video
Pages: 10, 11
Trey Burns
Wrapped House
2012
Archival ink jet, Ed. of 10
12” X 18” (Frame; 14” x 20”)
A Place to put Things
(Whose Fault is it for Livin’ Anyways?!)
2013
Various materials
125” X 64” X 132”
Pages: 14, 15
Ben Dowell
Pyramid
2012
Dyed plaster
32” X 32” X 18”
Pages: 16, 17
Zach Gabbard
Time For Everything
2013
Cold neon, aluminum, electronics
6’ X 5’ X 3”
Pages: 18, 19
Sam Gassman
Gloriana the Faerie Queen
2013
Assemblage
7’ X 2’ X 2’
CONTENTS;
.\berrn>mbi<‘ nbbonc.1930
Amcncan pirss«l glass c.1885
Arabesque fabrics 2013
B.-irk2013
Bennington poiter>' head e.lS-IO
Bronze dragon pla({uesc.l920
Bug pm C.I945
Carpel tacks 2013
China doll elements c.1925
Chinese bone elements c.1930
Chinese silk e.l980
Chippendale style hardware c.1950
Cracker Jack grotesque c.1970
Dip pen C.1895
Dutch silver fork c. 1890
F.agle Bag Riiiol c. 1934
Ebony piccolo c. 1 900
Edwardian buckle c.I912
Elastic ribbon c. 1990
Feather r.20l I
Frog c. 1905
GJd crown c.1880
German bone elements c. 1 9 1 7
George NN'asliiiigtou c.1901
Gloss eyrs c.1905
Glass ••rc.2004
Gold wedding hand c.1900
Graphite 2013
Hair ornaments C.I9(KI
Ink stain C.1964
Jenisolem reliquary cross c.1920
Knob e.2009
Ijght bulb not included' 2013
lanioges enamel p.atten C.I905
Mosierson fragments 2012
Meissen \-asec.l900
Monkey furc.1910
Non functioning watch c. 1999
Non functioning clock c.1999
Odd Fellows Lodge scepter C.1865
Pen mbs c. 1920
Pigment 2010
Piano stool c.l9I5
Queen of the Faenes 2013
Roman nngc.100 BC
Romanesque buckle c.1050
Royal Copenhagen hgure cl890
Sacniicial material 2013
SeashelU c.2000
Shredded Frette shams c. 2000
Shredded lace e.l980
Shredded linen damask C.I89S
Shredded kimono C.I930
Shredded men”sunderwear2013
Shredded silk pongee cl 930
Sheffield sphinx c 1610
Sliver handbag c.1695
SiUrr ladle c.1900
Sleigh belU C.1890
Smashed minor 2013
Smashed parlor table c.1870
Swarcn'ski crystals c 2005
SiafTordshire poodles cl840
Theater ornament c.1920
Tiffany trumpet sose c.1900
Trouble light c 1925
I'naiinbuted bone elements c.1926
V’icionan jewelry c.1890
Wine box lid C.1998
\*ray him fragment
Yellow caution tape 2013
Zebulon 2013
Pages: 20, 21
Stefan Gunn
Untitled
2013
Screenprint on paper
15” X 20”
Security Blanket
2011
Screenprint on paper
12” X 16.5”
Pizza Motel
2012
Archival ink jet, Ed. of 10
12” X 18” (Frame; 14” x 20”)
Pages: 12,13
April Childers
Happy Birthday
2012
Freezer, furniture dolly, acrylic paint, magnet, dead
raccoons, dead cats, dead, dogs, dead birds, dead
opossums, dead fox, paper and plastic wrappings,
35 mm film, Narragansett beer
23” X 27” 34”
Pages: 28, 29
Rachel Klinghoffer
All gold everything, 2012 - 2013
(grouping of 5)
Bun Head
2013
Bra, hydrocal, imitation gold leaf
8” X 4.5” X 3”
Sheep(ish) Head
2013
shoes, hydrocal, imitation gold leaf
10” X 3” X 3”
48
Hanukkah Bush
2012
Hanukkah garland, house paint, hydrocal, imita
tion gold leaf
6” X 3.5” X 2”
George Washington Bust
2012
Bra cup, seashell, underwear, hydrocal,
imitation gold leaf
10” X 8.5” X 3.5”
(Her) Tunic
2013
Bra back, hydrocal, imitation gold leaf
14” X 7” X 1”
Pages: 22, 23
Daniel Herr
White Mania
2012
Oil on cavas
60” X 48”
The Hub Hasn’t Cared Jackshit...
2013
Oil on cavas
60” X 50”
Study for Three Environments
2012
Oil and spray paint on cavas
48” X 60”
Pages: 24, 25
James Foster
Head/Space/Head
2013
Plaster, pigment, paint, magnets
11x11x11”
Pages: 26, 27
Tamara Johnson
Your Front Yard
2013
Sod
Dimensions varied
See Something, Say Something
2013
Watercolor on paper
30” X 22”
Pages: 30,31
Kimo Nelson
Untitled (#0401)
2013
Acrylic on linen
40” X 44”
Pages: 32, 33, 34, 35
Leopold Masterson
New York Street Art
May, 2013
Glazed porcelain, embedded pigments
6” X 6” at various sites
Pages: 36, 37
DH McNabb
Value of a Dollar #2
2013
Glass, enamel decal, dollar bill
Approx. 3” X 3” x 2” each
Value of a Dollar #3
2013
Glass, enamel decal, dollar bill
Approx. 3” X 3” X 2” each
Pages: 38, 39
Arthur Pena
Attempt 72
2013
Sandpaper, gesso, pine ash, pine, drywall,
plexiglass, staples
4” X 7”
Attempt 73
2013
Drywall, wire, mesh, pine, pine ash, gesso, fin¬
ishing nails, hydrocal
5.25” X 7.5”
Pages: 40, 41
Ruta Reifen
From her new Collection, Supreme
Supreme Neckpiece
2013
Gold plated copper, enamel resin, glass, thread
4”x 2”x0.75”
Supreme Ring
2013
Gold plated copper, enamel resin, glass,
Swarovski crystal
1”x1.25”x1”
Pages: 42, 43
Casey Jex Smith
Urn Chord
2012
Pencil on paper
10.5” X 7.5”
Urn Finger
2012
Pencil on paper
10.5” X 7.5”
Pages: 44, 45
Catherine Siller
Margins (3:48)
2013
Video
Pages: 46, 47
Rebecca Ward
Cowboy Church
2012
Bleach on canvas
18” X 15”
Transhumance
2013
Bleach dye, gouache and acrylic on canvas
40” X 30”
49
Terms of Agreement
Thirteen Twenty Three Exhibition
June 1 4th 2013
This agreement is made on _ (date) by and between
(the “Artist”) and TamJamson & Leopold Masterson Productions for the
Thirteen Twenty Three Exhibition a space{X\\Q “Gallery”) located at 964 Dean Street, Brooklyn NY, 1 1238.
The artworks exhibited at any time pursuant to this Agreement are hereinafter collectively referred to as the
“works” or “work” refer specifically to those artwork’s information provided by the said Artist.
Agency
The Artist appoints a space at 964 Dean Street for the purposes of exhibition only, a space shaW not permit
the Artworks to be used for any other purposes without the written consent of the Artist, which will probably
not be an issue, a space wiW immediately terminate its physical location and responsibilities upon the closing of
the exhibition and will not be revived again until said exhibition is resurerected in 1 0 years.
Exhibition
The said exhibition. Thirteen Twenty Three, will be held from June 1 4th - June 1 6th, 201 3. Signing this
agreement, the artist agrees to participate in the second half of this project (in 2023) and will adequately and
to whatever extent not “too illegal” attempt to have their proposals (B) executed in the future space, most
likely MOMA in New York. “Too illegal” is encouraged but not endorsed or funded. Void upon death. In the
occurrence of said event, “death” the Artist will procure a beneficiary to complete their work and proposal.
Animals are not allowed for this position.
Responsibilities
a space w\\\ be responsible for losses up to $100.00 USD for each individual incidental, indirect or
inconsequential damages while the works are on display during a space’s o'(iQr\ hours, a space \s not responsible
for damages or losses which occur while work is in transit to a space or during a period that is not set hours of
operation, June 1 4th 6-1 1 pm, June 1 5th 1 0-5pm, June 1 6th 1 0-5pm. If the Artist intends to damage one’s
own work, a space w\\\ applaud your motivations but not reimburse these efforts, a space w\\\ provide shipping
back to said Artist in the occurrence the work is shipped. Take note, USPS in New York sucks. All works must
be picked up from said “gallery” during the week of June 1 7th - 21 st.
Future
For the intent of the future, the Artist will be held responsible for communicating with said parties, TamJamson
& Leopold Masterson in the event the Artist’s information changes; ie email address, phone number, or
preferred communication platform. This is crucial to the second half of said exhibition set to conclude by the
end 2023.
Commission
a space s\\a\\ receive a commission of 5% percent of the retail price for each Work sold. In the event of a
Durchase, a space w\\\ discuss on site with the buyer when funds shall be received and when works are to be
Dicked up.
Page 1
50
Page 2
Modifications
All modifications of this Agreement must be in writing and signed by both parties. This Agreement constitutes
the entire understanding between parties hereto.
Drop off: Tuesday-Thursday, June 11, 1 2, & 13
Pick up; Monday-Friday, June 17-21
Selected Art Work(s): Please fill out below
1.
Title: _
Dimensions: _
Medium: _
Year produced: _
Price of work: _
Minimum acceptable price of work: _
(This information will not be shared with anyone)
IN WITNESS WHEREOF, the parties hereto have executed this Agreement as of the dates set below.
SIGNATURE OF ARTIST
DATE OF CONTRACT
rT -
Tamalee Jamson Productions
L# 631-682-3010
T# 254-71 5-3811
ThirteenTwentyThreeExhibition@gmail.com
www.ThirteenTwentyThreeExhibition.com
51
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